Insomnia DVD Review [2]
Posted by Ian Challis on 10.21.2002
Insomnia is one of those rare beasts, an Americanisation of world cinema that actually expands upon and betters the original. See it and love it.
Insomnia - Widescreen Edition
Release Date: October 15th, 2002
The Film
Insomnia, Britpack director Christopher Nolan’s follow-up to his cult smash Memento, opened with relatively little fanfare earlier this year, only to receive a warm reception both critically and commercially. The narrative follows hang-dog city cop Will Dormer (Al Pacino) and partner Hap Eckhart (Martin Donovan) to the eery-sounding Alaskan town of Nightmute, where they have been sent to work on the brutal murder of a seventeen year-old schoolgirl. Already troubled by Internal Affairs sniffing around his career, Dormer’s mind is further warped by the total lack of darkness in Nightmute, and sleepless nights soon take their toll. When Dormer, Hap and enthusiastic local officer Ellie Burr (Hilary Swank) set a trap to corner the killer, a fog-bound chase has fatal consequences, as an insomnia-addled Will shoots and kills his own partner. A split-second decision later and Will has blamed the death on the unseen murder suspect-and that’s when the problems really begin; the killer, crime novelist Walter Finch (Robin Williams), witnessed Dormer’s fatal error and begins a game of cat-and-mouse with the befuddled ‘tec. Soon Dormer is intertwined with Finch’s crime, and the psychological torment, accentuated by his insomnia, becomes too much to bear...
A "re-imagining" of a 1997 Norwegian effort starring Stellan Skarsgard, Insomnia has quite a billing to live up to. A critically-acclaimed director following up a home-run success, an Oscar-winning trio of stars, and the dreaded "U.S remake" label would almost definitely spell disaster for other projects; how does this one fare? First, the actors. Back in familiar territory, Pacino wastes no time in blowing away the flabby performances put forth in films such as The Devil’s Advocate and Simone; his depiction of Dormer is almost flawless, a rare human character amongst a sea of vacuum-packed Hollywood heroes. Dormer is one of the most likable protagonists to come out of American film in recent years, mainly due to his flaws, and Pacino plays up to this perfectly, spiralling ever-more out of control as his situation worsens with every sleepless hour. By daring to play the character somewhat ambiguously with regards to Hap’s death, Pacino creates a complex central figure, one which intrigues and grips the audience, but which also elicits much sympathy. After all, haven’t we all felt boxed in by our own mistakes and insecurities? Moreover, Pacino looks the part. His drooping, bulldog-like features fit perfectly for a man weighed-down by his own psychological baggage. Feel free to cry foul if Pacino is denied a nomination come Oscar time-this is one of the best lead performances of the year, and simply a joy to watch.
Pacino is ably supported by Williams, playing against his saccharine-sweet stereotype and doing an outstanding job of it. Comedy performers tend to use broad strokes when painting villains, even in "straight" efforts such as this; Williams admirably resists this urge, instead playing it low-key and becoming all the more sinister for it. His calculating killer remains cool and rational, even when twisting Dormer to his needs or justifying his horrifying deeds. The "Everyman" act is one criminally underused when portraying psychopaths in film, and Williams knows this and exploits it to great effect. When Finch finally does erupt in spasms of violence towards the end of the picture, it is made all the more chilling by his previously calm demeanour. Whilst not on the level of his character study in One Hour Photo, it is safe to say that this film is evidence of Williams’ wildly successful new career direction.
It is a shame then, that Hilary Swank’s character doesn’t match up to these two towering displays of acting. To be fair to Swank, it is through no fault of her own; Ellie Burr as a character exists as a fresh-faced foil to Dormer’s grizzled veteran, and it never really escapes these origins. Swank does an admirable job taking what she has to work with and running with it, and as such her portrayal never detracts from the film, but by the same token it never quite matches up to the complex characterisations of Finch and Dormer. The remaining supporting cast (including Donovan, recognisable face Maura Tierney and old-time character man Paul Dooley) commit themselves well and add to the level of class the film possesses.
Director Christopher Nolan, meanwhile, does an excellent job of fusing his indy sensibilities to the relatively straightforward, mainstream plot. Utilising narrative devices such as flashbacks and hallucinations to great effect, Nolan retains the off-the-wall nature of Memento whilst carving a much more involving narrative. The film is not saturated with gimmicks, something which seemed a distinct possibility considering his previous efforts. Instead they are used sparingly and to great effect, grafted onto a compelling story and enhancing the film rather than absorbing it. Coupled with some beautiful landscapes, superbly shot by cinematographer Wally Pfister, Insomnia has the all-involving feel of a classic of the crime genre.
Video Quality
Practically perfect, mainly due to the freshness of the print. With the right home entertainment system you’ll feel like you’re watching on the original celluloid.
Audio Quality
There are no concessions made to Dolby Surround, but with a movie of this type it’s hard to quibble about such things. The clarity dips on some of the special featurettes, and the volume varies greatly from option to option, but for the most part the track remains as fresh as the day it was recorded.
Special Features
Jammed with selective commentaries from Nolan, Swank, Pfister and others, and laden with featurettes concerning many aspects of the movie, you’d be forgiven for thinking that this is a dream DVD. The commentaries are generally fascinating; Nolan is affable and down-to-earth, leaving pretensions at the door and embracing his source material as he talks about it. The snippets of commentary from Swank, Pfister, production designer Nathan Crowley, script scribe Hillary Seitz and editor Dody Dorn all shed some light on their respective contributions to the finished product, and these are well worth a listen. There are also the usual suspects (filmographies, stills, trailers, an additional scene), and very well-done menus. Unfortunately where the disc falls down is on the documentaries. Day For Night, a fifteen-minute "making of" piece, patches together various interviews and is only really worth watching for Williams’ take on his character. Even more confusing is In The Fog, the same seven-minute featurette presented twice with different voice-overs-one from Pfister, one from Crowley. And Eyes Wide Open, a short look at real-life insomniacs, serves no purpose whatsoever. The only truly enjoyable short is a fifteen-minute, unscripted chat between Nolan and Pacino, which really sheds light on Pacino as an actor. Considering the acclaim and success this film has experienced, I would imagine that a Collector’s Edition is already in the works.
Film: 9.0
Video Quality: 9.0
Audio Quality: 7.0
Special Features: 6.0
The 411: Insomnia is one of those rare beasts, an Americanisation of world cinema that actually expands upon and betters the original. See it and love it. Extras-wise, there is more than enough to occupy your time, although the die-hard fans may want to wait a few months for the prospect of a Special Edition to surface. For most, however, this package will be more than enough to satisfy you. Enjoy.
